Thanks for another interesting and helpful blog. Some not so familiar names in the guest composer credits but I'm actually surprised to find only so few scores by Pat Willams there!

So was I. In fact, I was surprised to see how much music was tracked in across the series. I've only got the first two seasons on DVD and it was obvious even then.

Part of my surprise stems from the various interviews which Patrick Williams has given over the years where he states that he scored most of the series. I've got in front of me one such interview from the Movie Music magazine (Spring 1991). He's asked if he scored all the episodes or did he build up a library of cues that was used by the music editor, and he replies:

"Yes, I did score that, we scored many episodes. The show ran for, as I recall, six years, it might have been seven years. I can't remember exactly but I do remember that we scored many episodes of it. There were some cues that were tracked but not too many, and I scored almost all the episodes."

I'd imagine he's a bit hazy about it after the passage of time - I know I would be too.

I once had a compose rtell me he scored x number of episodes of a series, but it turned out only half that were credited. He was going by royalty checks, as I recall, so he had assumed he scored the number of episodes he was being paid for. Maybe there's something similar going on with Williams and TSoSF.

Or maybe, this is pure speculaton: he, for AFM reasons, had to re-record cues from earlier in the series, for use later on.

He told the photographer that he didn't want a 'pompous' cover and that he wanted Threshold to speak for itself and be "what it is", rather than be seen as some sort of big jazz/classical experiment and he wanted to present a cover that had "an element of risk"....something out of the ordinary.

The cigar with the long ash is what the photographer came up with. The effect was achieved by having a long wire all the way through the thing, which kept it together!